I have a hard time thinking of anyone who makes my skin crawl more than Phil Spector: he was known for his megalomania, outrageous behavior, and for bI have a hard time thinking of anyone who makes my skin crawl more than Phil Spector: he was known for his megalomania, outrageous behavior, and for being one of the biggest jerks in an industry where they replicate inconsiderate, soul-sucking assholes in Petri dishes for fun and profit. Author Mick Brown took on a Herculean task, just trying to shovel his way through the Augean stables of Spector's life, where double-dealing in business, betrayed ex-wives and ex-girlfriends, studio machinations, and the like were the order of the day. Brown does a particularly good job in recounting Spector's early life. Many seeds were sown there that burst into smarmy fruition later on. Spector may have been a genius in the recording studio, but he failed to make the grade as a human being. In many ways the story of his life resembles a Greek tragedy.

Separating the art from the artist is rarely an easy task. In this case, though, it is made more necessary because so many of the records he produced were so sublime. At the same time, it is hard not to want to vilify someone who ultimately betrayed virtually every friend or business associate he ever had. I think it is safe to say that Spector suffers from some form of mental illness My guess would be that he is bipolar with other related conditions. Perhaps in jail, separated from the hangers-on whom he seemed to collect and with proper medication, Spector may yet be able to discover his humanity.

I found much of what I read within these pages to be of interest. Although many readers may not find the sections about business dealings to be especially riveting, they are essential to the story, and chronicle how many musicians have been badly served by the music industry. I wish that the book had not ended quite so abruptly. A few more pages on the trial and its outcome would have made for a more satisfying conclusion to what is overall a well done explication of a most difficult subject....more

This book had been on my "to read" bookshelf much too long. I wish I had read it sooner. Recently, I have found myself drawn to listening jazz and bluThis book had been on my "to read" bookshelf much too long. I wish I had read it sooner. Recently, I have found myself drawn to listening jazz and blues much more than regularly. After reading it, I understand why. I am looking for music for meat on its bones, and the place to find that is definitely in jazz and blues. Why? Because as Marsalis eloquently states, the starting point for playing jazz is the complete mastery of one's instrument. This has to be combined with the ability to communicate and share the spotlight musically with other musicians, and to stay true to one's own groove, even when the crowd or other musicians don't get it. Eventually, they will come around.

For people who have never listened to jazz, a copy of this book and access to YouTube are about all you need to learn the basics. Marsalis is incredibly generous both to his readers and his fellow musicians. He recommends certain songs to illustrate certain points, e.g., using Louis Armstrong's opening trumpet solo on "West End Blues," or bass player Joe Smith responding to Bessie Smith's vocals on "Young Woman's Blues," to demonstrate call and response. When you take the time to listen to some of his examples as you progress through the book, you comprehend what he is saying much "more better."

Throughout this book, Marsalis uses events from his own life to demonstrate lessons from jazz. He is very candid about his own shortcomings and mistakes, such as unfortunate comments in interviews when he was a brash young man, or failing to appreciate the kid who stuck up for him in elementary school when the racial slurs were flying. He also does not shirk from talking about the greater issues that jazz illuminates, like racism and drug abuse. When talking about other musicians, he is also tells the truth. He talks about lives ruined by heroin, and others in decline through choosing fame over music. Throughout it all, though, what comes through is his love for the music and respect for the people who make it.

This is an interesting collection of interviews and essays from musicians and artists who were active in the San Francisco Tape Music Center in the 19This is an interesting collection of interviews and essays from musicians and artists who were active in the San Francisco Tape Music Center in the 1960s. They had a profound influence on the rock music that emanated from SF at that time, which is probably why some people will read this book. I think that is why my daughter gave it to me.

These musicians are much more interesting than the musical genres they later influenced. By incorporating found pieces as instruments, experimenting with the limited technology of the time, and by bringing an open-hearted, innovative approach to music, they were able to create some surprisingly successful pieces. The only woman in the group, Pauline Oliveros, gets short shrift in the publicity for the book, but in the book itself, she is well represented.

Accompanying the book is a DVD with performances by many of the artists from within its pages. Although the performances are from a conference in 2004, they are highly entertaining and represent the broad range of types of musical presentations that were going on at the time. All in all, I found this book to be a most comprehensive, illuminating effort, and very well done....more